#Band Jam Riddim

[poppaloxpromos01]

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[socaprince]

SOCA THERAPY - JULY 7, 2024

Soca Therapy Playlist Sunday July 7th 2024 Making You Wine From 6-9pm on Flow 98.7fm Toronto

Dutty Dancing (Dr. Jay Plate) - Hypa 4000 Ting Go Nice Again (TW Edit) - Wetty Beatz Crocodile - Problem Child Jab Story - Slatta Hurricane - Red Scorpion Hurricane - Skinny Fabulous x Lyrikal Tornado (Riddim Master Road Intro) - Ricardo Drue Chopping The Line - Jab King I Am Grenadian (Clean) - Muddy x Squeeze Head x Brain Not From Here - Lavaman x Travis World Addicted - Jab King x Travis World Hotspot - Lyrikal x Travis World The Feeling - Runi J x Travis World Jab Man - Slatta x Travis World Explore (Radio) - V'ghn x Travis World Jab Jab Festival - Pumpa x Travis World Stagga Dance - Lil Natty & Thunda x Muddy Energy Killers - Kerwin DuBois Smooth Ride - Farmer Nappy Best Ride - Coopa Dan x Dj Spider When Last (BD Certified Anthem Edit) - GBM Nutron x Jus Jay Junction - Coutain x Tano Tack Back - Kes x Tano A Little Jam - Problem Child Cyah Hear Yuh - Patrice Roberts Cyah Hear Yuh (Dr. Jay Plate) - Patrice Roberts BYE x2 - Saddis x Jus Jay Bare Good Vibes - Shal Marshall Happy Place - Lyrikal Happy Song - College Boy Jesse Birthday Bashment Freestyle - Lil Rick Ba Ba Ben (Wine & Bend Pt 2) - DJ Cheem Gimme Ah Bligh - Iwer George Water - Iwer George In The Water - Suhrawh x Chow Minister All Posse - Roses Crew feat. Fireman Hooper

TOP 7 COUNTDOWN - Powered By The Soca Source Top Songs in SVG on Apple Music

7. Start - Dat-C DQ x Skinny Fabulous 6. Slip In - Geo 5. Like Never Before - Problem Child 4. Next # In Line - Added Rankin 3. Blessed - Kennie Montana 2. BOTS (Battle Of The Sexes) - Problem Child 1. Carnival Jumbie - Problem Child

Starta Pack - Tionne Hernandez Pampalam - Faith Callender Safe Space - Rae x Fryktion Anxiety - Patrice Roberts Best Self - Nailah Blackman x Lyrikal Shake The Place - Machel Montano x Destra Heaven - Nadia Batson x Kees My Land - Kes The Band x Nadia Batson In the Meantime - Alison Hinds Mash It Up - Burning Flames feat. Onika Bostic Expose (Precision Road Mix) - El-A-Kru feat. Tizzy DJ Needle - Horizon feat Candy Hoyte Jammers - TC De River - Blue Ventures feat Sanell Dempster Let IT Rain (Riddim Master Edit) - Empress x Soca Villain x Psycho Pulourie Doubles - Rikki Jai Disk La Reye - Ban Biyo Zouk La Se Sel Medikaman - Kassav Sexy Chocolate Girls (Remix) - Farm P x Kerwin Du Bois

PAN MOMENTS DNA - BP Renegades

TANTY TUNES Calypso Music - Charlie's Roots feat. David Rudder

Soul Of Calypso - Machel Montano Bruk Time - Grabba Bend - Nessa Preppy The A List - Pumpa Stick On - Lyrikal How Ah Livin - Farmer Nappy Where I Am - Freetown Collective Like Ah Boss (Ryan Sayeed's Typical Intro) - Machel Montano Anything - Buffy Put Your Hand On You Head (And Wine) - Sound Revolution feat. Derrick Seales Dis Is How - Crazy Blow Way - Kindred Rollin' - Homefront Famalay (Scratch Master Road Mix) - Machel Montano x Skinny Fabulous x Bunji Garlin Jumbo Jet - Bunji Garlin Party Bad - Mr. Legz x Mr. Killa Rum Sweet - Problem Child Weh Yuh Want (Soca Baby) (Clean) - Prezzi Don Welcome Back - Imani Ray

NORTHERN PRESCRIPTION Delilah (Clean) - Ka$h

Night & Day - Th3rd x JMTB Cut Me Loose - Kes x Travis World

Follow Dr. Jay @socaprince​ and @socatherapy

“Like” Dr. Jay on http://facebook.com/DrJayOnline

[burlveneer-music]

schroothoop - MACADAM - for a band that makes instruments out of scrap, the music is more mellifluous than I expected, favoring international grooves over skronk

Belgian junk jazz trio schroothoop (which translates as ‘junk yard’) bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called ‘MACADAM’ will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene. In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). “Music on homemade instruments with a surprisingly good result” (De Standaard). “Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk.”(Written in music). “We assure you that this “scrap heap” is worth gold!“ (Le Grigri). On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments. The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders. The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of “junk jazz”, Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city’s melting pot.

[fucktheglorydays]

OUR FAVOURITE RELEASES THIS MONTH

Speedy Ortiz - Rabbit Rabbit (Wax Nine)

Liquami - S/T (To Lose La Track)

Apollo Brown & Planet Asia – Sardines (Mello Music)

BRUUNO – Fosbury EP (V4V Records)

Tunico – S/T (Far Out)

David Woods -Shuffling The Cards Again (Running Back)

AA. VV. - We Are The Children of the Setting Sun (BBE)

Piotr Kurek - Smartwoods (Unsound)

Godblessomputers – Faded Views (Jakarta - 823)

P.G. Six - Murmurs & Whispers (Drag City)

John Ghost – Thin Air. Mirror Land (Sdban)

Slowdive – Everything Is Alive (Dead Oceans)

Bowes Road Band – Back In The HCA (Jakarta Records)

Human Colonies - Kintsukuroi (Shore Dive Records)

Omega Path  - Meltdown (Queenspectra)

AA.VV – Movelt Juke Jam (Moveltraxx)

Yussef Dayes - Black Classical Music (Brownswood Recordings)

Greg Surmacz - What We Can Assume (XVI records)

AA.VV. - Time Capsule: Tokyo Riddim 1976-1985 (Time Capsule)

Explosions In The Sky – End (Temporary Residence Ltd)

Mike Salta & Mortale – Bon Abantu (Music For Dreams)

Jalen Ngonda – Come Around and Love Me (Daptone Records)

Nation of Language – Strange Disciple (PIAS)

CCCP - Felicitazioni! CCCP – Fedeli alla linea. 1984 – 2024 (Universal)

James Blake – Playing Robots Into Heaven (Polydor)

[parkerbombshell]

The Menace's Attic #796

The Menace’s Attic Mon-Sat 5pm EST bombshellradio.com on ​Bombshell Radio Sunday’s 8pm EST New Shows Wednesday’s 1pm-2pm EST 10am-11am PDT 6pm-7pm BST bombshellradio.com Repeats Friday 5pm EST #classics #pop #rock #classicrock #themenacesattic #BombshellRadio   This Week – Episode #796 (06/10/2017)   "It All Began With A Request From Tom Of Bombshell Radio For A Set Of Songs From 1973. I Went For The Paul Simon Track And A Couple Of Songs That Attached. From There On In, I Left The Year Entirely And Where It Went From There, We're All About To Find Out Together!"   Opening Song  Doesn't Somebody Want To Be Wanted - The Partridge Family (Bell) Set #1 To Give You A Picture Of What The Following Music Is About, I Decided To Put It Under A Microscope To See Exactly What The Cell Structure Was. Unfortunately We Had A Blackout And Someone Used The Last Matchstick To Find A Cure For Something! Kodachrome - Paul Simon (Columbia) Pictures Of Matchstick Men - Status Quo (Cadet) Pictures Of You - The Cure (Elektra) Set #2 It Doesn't Matter If You Are Bob Or David, Or Even Ritchie. If The Lyrics Are In A Different Language, It Makes Things More Exotic - Even If You Find Out That All They're Saying Is "I'm Not A Sailor, I'm A Captain!" Romance In Durango - Bob Dylan (Columbia) Loco DeAmor - David Byrne y Celia Cruz (Sire) Spanish Harlem - Aretha Franklin (Atlantic) La Bamba - Ritchie Valens (Del Fi) Set #3 While U2 Might Have Been The Band Of The Moment All Over The World, There Was Another Equally Stunning One That Wowed The Locals. Brewing Up A Storm - The Stunning (Solid) A Beautiful Morning - The Rascals (Atlantic) Beautiful Sunday - Daniel Boone (Mercury) Pretty Girl - The Easybeats (United Artists) Set #4 We're Not Done Quite Yet, Though It Seems Like The Bands Are Ready To Go! Ready To Go - Republica (RCA) Going Underground - The Jam (Polydor) Closing Song  Tukka Yoots Riddim - Us3 (Blue Note) Read the full article

[dustedmagazine]

Listed: Jeffrey Alexander

Jeffrey Alexander is a fixture in a free-wheeling, Grateful Dead-loving, guitar jam underground, a founder of the Iditarod and Black Forest/Black Sea and a sometime member of Jackie O Motherfucker. His Direwolves splice acid folk with a buzzing, humming motoric-ness that edges near Stereolab, but his latest band, the Heavy Lidders, is pure transcendental pleasure. In her review, Jennifer Kelly noted that, “These songs take their time to loosen and relax, pursuing repetitive vamps until the edges melt away and the hard colors swirl into pastels.” Alexander is also a DJ and here he lists some of the music he spins for listeners.

For this Listed, I decided to run down some of the bootlegs and quirky things that I often play on my radio show — hope you dig it. I started doing radio back in college in the 1980s, where I was also the record librarian. The archives at the station opened me up to a myriad of sounds and new zones. Radio for me is like a new mixtape — not knowing what is going to come next… or waiting for the next mic break to try and find out the name of that killer song they played 15 minutes ago. The mystery of it all is still exciting, like remnants of pre-internet music fandom when we searched through record stores, made lists from music magazines and traded tapes. I had a spell as a commercial FM DJ on WRNR in Maryland in the 1990s, but it wasn’t until moving to San Francisco that I started my own program called Pome Pome Tones. PPT currently broadcasts Wednesdays 7-9pm Central fortnightly on www.dunebuggyradio.com. Podcasts are up at www.mixcloud.com/dwlvs.

Fairport Convention — Reno Nevada — April 27, 1968

Recorded live on the French TV program Bouton Rouge. Brooke Sietinsons of The Espers turned me on this this when we were VHS tape trading in 2000 and I’ve been retreating to it every so often for 20 years. This is Fairport at their most delightfully blinding San Francisco ballroom jamming free flight. It’s just so fucking good. I love the crisp dual vocals of Judy Dyble and Ian Matthews, I especially love that they both sit down and look so bored during the guitar jam out. Especially Judy, just like a Donna Jean icy stare. But the jam out is super nice too — modal jazzy freak-outs, some of Richard Thompson’s best ever captured on video. This takes the most boring song from my favorite Richard and Mimi Farina album to incredible new zones. I also tend to play a lot of Ian Matthews’ early 1970s records on my radio show, as well. Such a pure voice and perfect ringwear rock vibes.

The Smiths — How Soon Is Now? (Chopped + Screwed)

The chopped + screwed style coming out of Houston, TX in the late 1990s/early 2000s is so fascinating. Full-on Robitussin-fueled shamanism, it’s like the modern-day version of dub. There are so many examples of this across the spectrum, but this 10-minute chopped version of The Smiths takes the cake — probably because 16-year-old me in 1984 sat on the floor listening to the original version of this over and over again, studying the gatefold. But this version is so much better. Thank you Scobed + Robed.

I’m Still In Love With You (Alton Ellis, Sean Paul)

Althea + Donna’s Uptown Top Ranking is one of my all-time favorite songs, and one of John Peel’s as well. A well-worn Jamaican riddim starting with Alton Ellis in 1967 and made famous again by Marcia Aitken in 1977. DJ Algoriddim has expertly mixed together a boat load of these variations here and it’s a killer 30-minute jam.

Jon Rose – Paganini’s Last Testimony

When things get autumnal each year, I gear up for a spooky edition of my radio show. One of my favorites featured this Jon Rose piece which he originally broadcast on ABC, Australia in 1988. It’s an amazing sinister collage of bible-belt radio bits, demonic violin, and Rose reciting devilish text from Paganini’s own letters. The CD is long out of print but you can hear the entire 57 minutes of this glorious creation on an old episode of Pome Pome Tones here.

10cc — I’m Not In Love 1975 Disco Purrfection Version

12-minute remix version of a favorite song from my early childhood — unbelievably smooth mix by DJ Disco Cat. Read the comments on the YouTube post for the full mix backstory. Purrfect.

Sun Ra Arkestra — at Victoria Theater, San Francisco California — Aug 3, 2013

I’ve been super fortunate to experience the live Arkestra a handful of times, and this set from 2013 simply floored me. They completely consumed that old ratty theater space with their magical floating power.

Dire Wolves — at Festival of Endless Gratitude, Copenhagen Denmark — Sep 13, 2019

Live DWLVS ! Yeah, I play my own music on my radio show all the time, somebody has to. This is a short rough audience clip — the proper audio of the whole set was released on LP by Feeding Tube / Cardinal Fuzz with a fabulous poster.

Flow & Heady by Dire Wolves Just Exactly Perfect Sisters Band

Copenhagen 2019 was the last time I saw these DWLVS bandmates in person, but we have plans to meet up again at the Milwaukee Psych Fest November 19-20, 2021, unless ya all spreadnecks shut it down.

Chuck Brown and The Junkyard Band — at Wilmer’s Park, Brandywine Maryland — Sep 19, 1989

I grew up in Baltimore and spent a lot of time going to punk and hippie shows in DC (old 9:30, DC space) in the 1980s, but Wilmer’s Park in southern MD was totally the place. All-day and night go-go shows, mini festivals with overnight camping, shows from Hot Tuna, Zero, Allmans, Root Boy Slim (!!!) and some of the best BBQ I’ve eaten, oh man. There was a lot of crossover of punk/funk/crunchy scenes back then, I loved it all. I went to a lot of Trouble Funk gigs, but this was the only time I witnessed the legendary Chuck Brown.

Alice Coltrane — at Palace of Culture, Warsaw Poland — Oct 23, 1987

Harp solo during her appearance at the Jazz Jamboree festival in 1987. Perfect, transportive.

Bardo Pond — What Are Their Names?

Probably the greatest band of the last 30 years covering one of my absolute favorite David Crosby songs, what could be better? I curated this Terrastock festival in Providence RI in 2006 and assembled a CD compilation of some of the performers for a micro release on the label I used operate called Secret Eye. The original features Jerry Garcia, Neil Young, Phil Lesh (what an amazing LP!) and this Bardo version somehow channels that essence in a slow fried perfect hash jar tempo.

[thesunlounge]

Reviews 353: Island Sounds from Japan 2009 - 2016

The newest release from Time Capsule carries the completely irresistible title of Island Sounds from Japan 2009 - 2016 and finds label co-founder Kay Suzuki curating a miniature compilation aiming to present a personalized window into modern Japanese music. I say personalized because, rather than seeking to reflect what is contemporaneously popular, this release celebrates what Kay calls the “Island Sound,” which comprises a sort of loose and tropically-minded ideology dedicated to expanding genre boundaries and fusing musical traditions from all around the world. Thus across the vinyl’s five tracks, we are treated to a Caribbean-tinged reggae rewrite of a legendary jazz classic, a polychromatic surf slide and Hawaiian psych groove out, a fried and freaky mutant disco stomper led by chugging funk basslines, slashing fuzz riffs, and southern blues slide guitars, and an elegiac fusion of Aino folk, Afrobeat, and dub exotica made in tribute to the profound grief experience by both Syrian refugees and oppressed indigenous cultures within Japan’s own borders. As well, Island Sounds from Japan 2009 - 2016 sits nicely alongside the recently released Oto No Wa: Selected Sounds of Japan 1988​-​2018 in the following sense. While many reissue labels have their sights set on Japan’s musical past, with most of the focus being given to the rare groove, jazz, city pop, and environmental ambient music of the 70s and 80s, the curators of both Island Sounds of Japan 2009 - 2016 and Oto No Wa: Selected Sounds of Japan 1988​-​2018 choose instead to spotlight lesser known and ever more modern corners of Japanese music, thus collecting together the kind of leftfield oddities and impossibly creative genre mashups that will inspire future generations of obsessive crate diggers, balearic minded DJs, and visionary producers.

Island Sounds from Japan 2009 - 2016 (Time Capsule, 2020) Saxophonist Akira Tatsumi made his name with The Determinations, an Osaka-based ska band operating throughout the 90s and early 00s. Following the group’s dissolution, Tatsumi dove ever deeper into Caribbean musical forms such as calypso and soca and following a solo album in 2013, he began to brainstorm ways he and his fellow musicians could develop a more distinctive musical identity…something “they could export to the world instead of merely following their influences.” Thus a regular jam out called “Akira Tatsumi presents Island Jazz Session” was born, featuring an ever-shifting collective of jazz and reggae musicians who eventually recorded an EP under the name Speak No Evil, the centerpiece of which is an inspired re-interpretation of the Wayne Shorter classic of the same name. Stabbing piano chords bring in a throbbing riddim, with hi-hats guiding the flow, snare rimshots cracking, piano chords skanking on waves of tropical sunshine, and Shinichiro Akihiro’s palm-muted guitars scratching on the beat. Tanko’s sensual basslines bob the body and work through zany high note accents as familiar horn themes flow over the mix, with Tatsumi’s alto and Motoharu’s tenor and soprano singing together through moaning reveries, descending through cinematic refrains, and bleating in bombast as Pablo Anthony’s martial snare rolls and proto-fusion drum fills break free from the riddim glide to bash and crash towards the sky. Eventually, we settle down into a deep reggae zone out while the saxophonists alight on dizzying solos, with hyperkinetic blues spirals and circular marathon cascades intertwining and occasionally shrieking towards free jazz desperation. Then comes a dreamy piano solo from Tetsuya Hataya, which intersperses blazing runs and percussive cluster chords as the entire length of the keyboard is explored. After these solo passages, we return to Shorter’s classical horn themes, with pleading blues melodies and soar ascents married to a sun-soaked Kingston skank. And following a false ending, everything drops back in heavier than before…the bass now locked into a sinister pulse while ghostly dub pianos underly a panning panorama of alien saxophone mesmerism.

The second track comes from AQATUKI, a group formed by “two guitar kids” Taaki and Chen who, together with a fluid collective of musicians, have been developing their own strand of psychedelia since the late 90s, one equally influenced by 70s space rock and 90s rave. However, for “Wakanoura,” Taaki, Chen, and friends are in bathing in rays of tropical sunshine, as the track is based around a Chen’s gemstone guitar harmonics, which themselves take inspiration from the junkyard-sourced idiophonics of Konono Nº1. As the prismatic guitar layers spread out across an infinite ocean surface, tight psych rock beats from Toda3 and Moro enter to sway the body while Taaki’s slide guitar glides between textures of Hawaiian rock and surfadelic splendor. Aknee’s bass chugs along and brings atmospheres of 50s pop romance as Chen’s crystalline harmonic webs flow into shimmering seaside arpeggios…the whole thing bringing visions of sunset skies and dolphins dashing through coral reefs. In fact, the liner notes explain that, in addition to taking inspiration from Konono Nº1, “Wakanoura” in finds the band lost in nostalgic revery as they collectively remember a beautiful sunset bar they played in the titular location. At some point, the track erupts in small scale as rimshots rain over the stereo field, basslines move down low, and double-time hi-hats add further propulsion to the rhythmic flow, with my mind drifting to the drug-induced balearica of Pharaohs and the post-rock exotica of Cul de Sac…especially as shimmering webs of polyrhythmic six string harmony support increasingly far out slide guitar explorations. Descending surf chords signal another transition, with the rhythms evolving into a sort of equatorial breakbeat while basslines dance on sunbeams, fuzzy slide hooks refract rays of tropical light, and distorted surf-psych licks hold down the groove. Elsewhere, we lock into a sort eternal two-note loop of tropical island fantasy…with everything breathing in unison and seeking out an eternal horizon…all before the cycles are broken by a glorious guitar solo, which rides high in the sky as tapped ride cymbals spread golden wavefronts in every direction.

Just as Aqatuki found themselves backpacking to India and Southeast Asia in the 90s to bathe in psychedelic radiance, so did Altz, who also took inspiratios from “Japanese punk originator[s]” Murahachibu and a host of other avant-rock bands discovered in his youth. Around the turn of the millennium, the artist began producing on his own via a computer and MPC, and has since enjoyed a prolific and eclectic career, with releases appearing on well known labels such as DFA, EM Records, and Bearfunk. “Orympia Rocks,” which comes from Bear Funk’s Hibernation (Vol. 1) sampler, slams right away into crushing disco kicks and ringing cymbals, with strange reverb effects spreading outwards into exo-planetary caverns. Chugging punk funk basslines cut in and out alongside chopped and mangled fuzz guitar riffs, which drop in and out from all sides of the mix or suddenly rocket across the spectrum while everything else flows and transforms through dub delay chains. After a surprising cut to silence, we drop back into the groove, with stoned basslines and muscular disco house freakbeats stomping beneath a grease-soaked cascade of country-fried slide guitar…a completely strange and inspired mash up that, as told by the liner notes, was inspired by Altz spinning southern rock classics such as The Allman Brothers and Lynyrd Skynyrd. The result comes off like something from the wildest reaches of the Mind Fair universe…with everything anxious, unsettled, and stubbornly refusing to lock in, preferring instead to tease out various elements while maniacally subverting well known forms of disco, house, funk, and stoner rock into a maddening dancefloor fever dream. Bleeping and blooping synthesizers beam in from faraway galaxies, crazed whistles zoom skywards, and occasionally, the slide guitar flies solo over the drums...its tremolo-soaked blues meditations fly solo before everything devolves into a storm of dubwise chaos. Later, laughing children induce LSD visions that obscure the mutant disco rock groove out and towards the end, after the drums disperse, the southern rock slide guitars transform towards Hawaiian tropicalia as calming ocean waves crash to shore.

In the liner notes, Kay Suzuki presents a beautiful and personal meditation on Keiichi Tanaka’s unique talents as well as his tragic passing. Indeed, Tanaka was a world traveller, having ventured as far as Mali, Senegal, and Morocco to learn a wide swath of rhythmic folk traditions. Coupled with a private lesson from Afrobeat legend Tony Allen, these experience established Tanaka as a distinctly skilled and diverse drummer…something that was on full display in his band Kingdom Afrorocks. After Kingdom Afrorock dissolved in 2014, Tanaka relocated from Tokyo to Hokkaido and reconnected with deep dub and Ainu folk fusionist OKI, who encouraged Tanaka to record a solo album, which eventually led to Keta Iicna Hika. However, Tanaka passed before seeing the LP’s release, which is all the more heartbreaking given how incredible the music is, with the record hinting at a deeply creative musical mind who was only just beginning to explore the full reaches of his artistic imagination. Taken from Keta Iicna Hika, “City of Aleppo” sees Tanaka and OKI creating a unique sort of blues inspired by the bombing of Aleppo, wherein mystically aligned basslines snake up and down through Afrobeat and tradition folk drum accents led by urgently tapped hats, four-four kicks, and sparse snare smacks. Sawing scrapes background kaleidoscopic layers of Ainu folk psaltery, with buzzing spiderwebs and psychotropic spirals woven from OKI’s tonkori and mukkuri. And the whole thing ebbs and flows in intensity to evoke the way sorrow hits in waves…as moments of apparent calm give way to dense cascades of pain and anguish, with the exotica drum gallop erupting into climactic flamboyance while infinite string webs evoke the spiritual suffocation of Aleppo’s occupation, as well as the historic oppression of the Ainu people at the hands of Japan’s government. OKI’s dub version of the track from Keta Iicna Hika is also included, which brilliantly deconstructs everything into miasma of oscillating echo and prismatic future folk. Basslines dance over beatless stretches, dubwise fx chains mutate and morph the Afro-Aino rhythms amidst echoing bursts of plucked string violence, and the mix is increasingly overwhelmed by psychedelic editing, with elements dropping unexpectedly, black smoke drone clouds cycling through chasms of silence, and cavernous drum fills ricocheting beneath waterfalls of fractalized psaltery.

(images from my personal copy)

[berlysbandcamp]

Time Capsule is a reissue focused record label from London that was born out of a loose musical community based around the long running party Beauty & The Beat, and London’s music venue brilliant corners.

The last few years have seen an upsurge in popularity for Japanese music. From the deep grooves of 70s Japanese jazz and the funk-filled effervescence of 80’s city pop, to the zen-like ambient soundscapes of the same decade’s environmental music what unites these diverse forms is the similarity in approach of the musicians who created them. Since the first influx of pop music onto it’s shores, Japanese musicians have sought to study and master each form before creating new iterations. The music on this compilation features a range of modern Japanese musicians who have each sought to expand genre boundaries by fusing different styles. Hailing from different musical backgrounds they are united by a common goal to deliver a distinctly tropical strain of sound, or what Time Capsule label boss and compiler Kay Suzuki refers to as Island Music. ‘Although this collection concentrates mainly on recent bands it doesn’t try to reflect what is currently popular. Instead, each artist has used a mixture of craftsmanship and their own personal experiences to experiment with styles and reshape them into new and unique forms. I feel strongly that they deserve more exposure around the world’ he says. Speak No Evil are a perfect example of this cross-pollination of musical forms. Led by musician Akira Tatsumi, a veteran of Osaka’s verdant ska and calypso scenes, the band was formed from a regular jam session between the city’s reggae and jazz musicians to see what they might be able to create with combined forces. Their version of the same-titled classic by legendary saxophonist Wayne Shorter transports the jazz classic into new pastures, as the band takes Shorter’s sweet refrain on a reggae trip, the track finds a natural meeting point between the two genres, adding snappy riddims to jazz’s innate sense of swing. Backpacking in India shaped the sounds of Aquatuki. Led by guitar players Taaki and Chen, they layer the trance music they discovered in Goa into psychedelic instrumental jams. The dream-like Wakanoura adds elements of surf and Hawaiian music to the mix with Taaki’s slide guitar evoking beach-side tropical sunsets, while a blues-like melancholia adds another element to a bittersweet track that refuses to be pigeonholed. Another artist whose music was shaped by travels to the subcontinent was maverick musician Altz whose exposure to Goan psychedelia produced radically different results. Orympia Rocks, with it’s melding of punk funk basslines, echoed disco beats and southern-rock indebted slide guitar is a brilliant example of his trademark groove-heavy twisted disco sound. Keiichi Tanaka’s story is one of the great ‘what-ifs’ of modern Japanese music. Schooled as a master-percussionist in Africa, he followed up a stint leading the renowned Japanese afrobeat band KINGDOM☆AFROCKS with a hugely ambitious first solo album before his life was cut tragically short after a fatal car accident. Pairing musicians from myriad musical backgrounds he created a radical new series of sounds. Written after watching news footage of the bombing in Syria alongside fellow musician OKI, City Of Aleppo captures a wonderfully natural melding of African and Asian styles, with Tanaka’s African-inspired rhythms combining beautifully with OKI’s tonkori – a stringed instrument belonging to the indigenous Ainu people of northern Japan. Taken from the same album, the final track on this compilation presents OKI’s City Of Dub remix of the track, with echoed sound effects adding another pinch of spice to this melting pot of styles. Offering both a window into the country’s verdant underground music scene and a taste of a rarely profiled strain of tropical music, it’s a compilation that offers further evidence of Japan’s tradition of musical craftsmanship and musical innovation.

[staylitmusic]

Fya Empress - Under Meh (Band Jam Riddim VA) by Kubiyashi Enjoy the sound of pure joy of Soca Music on this boss beat by Swick B Productions, and Kubiyashi. Artiste from St. Vincent & Grenada have touched this Riddim to bring their own flavour and vibe. #BandJamRiddim Produced by: Swick B Productions, Kubiyashi Written by: Various Artistes Mixed & Mastered by: Keron "Scratch Master" Hector

[socaprince]

SOCA THERAPY - OCTOBER 6, 2024

Soca Therapy Playlist

Sunday October 6th 2024

Making You Wine from 6-9pm on Flow 98.7fm Toronto

Party Genie (Dr. Jay Plate) - College Boy Jesse

Kitty Cat - Patrice Roberts

Slip In - Geo

Party In The Road - Skinny Fabulous

Jam Somebody (SMJ Refix) - Jadel

Throwback - Ding Dong x System32

Angel - Imani Ray

Heart of Carnival - V'ghn x MSK MuSiK

How Ah Livin (Muv Short Edit) - Farmer Nappy

Outside Jam - GBM Nutron x DJ Spider 

One Piece - GBM Nutron x Tano

Aye Gyal - Hey Choppi x Chalmer John

Would You - Farmer Nappy

Tabanca - Mical Teja

Situations (GFG Remix) - Coopa Dan x Shaquille GFG

Best Ride - Coopa Dan x DJ Spider

Spirit Waist (Ryan Sayeed & Private Ryan Intro) - DJ Private Ryan x Mela Caribe x Olatunji

Major Damage - Lyrikal x David Rudder

Man Ah Bad Man - Bud

Send Dem Riddim Crazy - Bunji Garlin

Bef La - First Serenade Band

Balance Batty - WCK

Crank It - Krosfyah feat. Edwin Yearwood

Rev De Engine - General Grant

TOP 7 COUNTDOWN - Powered By The Soca Source

Top Songs By Yung Bredda Streamed On Spotify

7. Sugar Waist feat. Kerwin Du Bois

6. Gyal Road feat. Father Philis & Stadic

5. Steamy Service

4. Doggie feat DJ Cheem

3. Trampoline

2. Feel It

1. How You Feeling feat. DJ Hotty

DNA (DJ Kevin Festival Intro Edit) - Mical Teja

Mas Go Play - Erphaan Alves

Ah Love It Here - Ricardo Drue

Is Mas - Patrice Roberts

Feting Family - Shal Marshall

In A Mess - Problem Child

Own It - Imani

In Meh Space - Nadia Batson

Rosie - Destra x Yung Bredda

Fuh Spite - Kes The Band

Can You Feel It - DJ Private Ryan x Terri Lyons

Mash Up - Blaxx

Time Ah We Life (Riddim Master Intro) - Tian Winter

Backbone (Riddim Master Intro) - G Eve

Good Vibes (Riddim Master Intro) - Island Prince

Feeling Nice - Adam O

Tack Back - Kes x Tano

Junction - Coutain x Tano

My Dahlin - Adana Roberts

I Like That - GBM Nutron

Search Party - Preedy

Penthouse - Voice

Life After Fete - Kerwin Du Bois

PAN MOMENTS

Everytime (Pan Cover) - Micheal The Pannist x Joshua Regrello

TANTY TUNE 

(1991) - If I Rude, I Rude (Ruthven) - Devon George

Rude - The Fatha x Trinidad Killa

Rude Ways - Lyrikal

Rude Gyal - Kimba Sorzano

Call Meh - Olatunji

Wine For Meh - Vigilante

We Time - JW & Blaze

In Charge - Machel Montano

Whole Night - L Pank

Trouble In The Morning - V'ghn

Attitude - Holla Bak x Skinny Fabulous

Breakup Song - Adam O

Someone Else - Litleboy x Quan x Trilla G

Sound Check - Mad Skull x Wetty Beatz

Stagga Dance - Natty x Thunda x Muddy

Headways (Lash Up) - Speilberg

Like Yuh Self (Ryan Sayeed's Conceited Intro) - Patrice Roberts x Machel Montano

Pampalam - Faith Callender

Starta Pack - Tionne Hernandez

Round & Rosie (BD "Instructions" Edit) - Nailah Blackman

Last One Standing - Ricardo Drue & D.w.O

Pandemonium - Voice x Natty x Thunda

Carnival Jumbie - Problem Child

NORTHERN PRESCRIPTION

Ou Ou Love - Miguel Maestre

I Dare You - Destra

Follow Dr. Jay @socaprince​ and @socatherapy

“Like” Dr. Jay on http://facebook.com/DrJayOnline

[factsmoon]

Rub a dub riddim rar

It's gonna be a dope night - in one room we have Channel One Soundsystem booming the Jafa rig supported by NZ's best roots and culture selectors, while the dancehall party hosted by Bigga Tingz will be popping shit off next door!!!!!! Zippy 1. I'm pretty excited to be asked to jam for an upcoming NYE party (thanks Tobi) featuring the almighty Channel One Soundsystem! So as I do, I thought I would bang out a little mix to celebrate and promo the BIG night! So without further ado, we have 50 stone cold classics from the rocksteady and reggae eras, through to roots, dub, rub a dub and digital styles! Check the gig if you are kicking around the shakey isles of Auckland, New Zealand. Vybz Kartel - Real Friend (Peenie Wallie Riddim) Leftside - Turn Up Di Party (Naughty Wifey Riddim) Wayne Marshall f Jr Gong, Aidonia, I Octane, Assassin, Bounty and Vybz - Go Hard Stylo G - Call Me A Yardie (SoulForce RMX) Konshens - Simple Song (Mental Maintenance) Popcaan - Full Swing (Loudspeaker Riddim) Million Stylez - Ya Habibti (Arabian Nights Riddim) Konshens - None a dem (Chupacabra Riddim) Gappy Ranks and Winky D - Kings of Africa (Yard Rock Riddim)Ĭhan Dizzy - Herbalist (High Times Riddim) Pinchers - Yellow Belly Vaquero (Rock & Stop Riddim) Million Stylez - Roots Of All Evil (Bellyful Riddim)Ĭhronixx - Start a Fyah (Game Theory Riddim) Virtus - Run the Track (Make it Gwan Riddim) Wrongtom Meets Deemas J - Old Time Stylee (In East London)Ĭali P - Dem a Boss (Remix) (Ima Bhass Riddim) Mr Williamz - We Run England (More Spiritual Riddim) Solo Banton - Me No Know (Ba Ba Boom Riddim) Protoje - Our Time Come (The 7 Year Itch) Romain Virgo - No Money (No Money Riddim) Romain Virgo - Nah Fidget (The Return Riddim) Romain Virgo - Think Mi Weak - (Good Things Riddim) Tarrus Riley - Prophecy Fulfill (Rude Boy Be Nice Riddim)ĭalton Harris - Gi Mi That Whine (Sweet Ride Riddim) Tarrus Riley - The World Is a Ghetto (Reggaeville Riddim) Mark Wonder and Al Pancho - Dancehall Stylee (Redeemer Riddim)

Luciano - Rub a Dub Market (Rub a Dub Market Riddim) Gentleman and Rebillion - Intention (Feel Good Riddim)īusy Signal - Reggae Music Again (9.58 Riddim)ĭa Professor - Peace & Unity (The Laboratory)ĭelly Ranx - Jah Jah A Mi Everything (Life After Lifetime Riddim) Timeka - Undercover Lady (Rock & Come Een Riddim) Tafari - Money in My Pocket (Money in My Pocket Riddim)Ĭhristopher Ellis, Stephen Marley and Jah Cure - End of Timeįuzzie Barz - Slow Down (Cos I'm Black Riddim) Ken Boothe and Mr Vegas and Chauncey D - When I Fall In Love (When I Fall In Love Riddim) Major Lazer f/ Sani Showbizz - Big Piece of Chickennnn (Alibaba Riddim)Ĭhino f/ Kardinall Offishall - L.S.L (Live Some Life Riddim) Slim Smith and Cecile - Girl You Hold Me (Leggo di Riddim)Ĭourtney John - Every Way (You Dont Care Riddim)Įtana - Johnny Too Bad (Mesopotamia Riddim) What's your favourites? Fresh ZippyLink reup! Part 1. We have producers Fenchie, Dre Skull, Don Corleon, Major Lazor, Head Concussion and Shane Brown ruling tings. We see Romain Virgo pretty much reach super stardom while staltwards Delly Ranx, Gentleman, Tarrus, Vybz, Milly, Konshens, Mr Williamz and Mr Vegas lead the pack again. We have the return of Penthouse and Digital B running some big riddims again! We see newcomers Exco Levi, Chronixx, Chan Dizzy, and Protoje cement their place at the top of the scene. Well the return of it anyhow! Busy got jailed, and released, and still dropped the biggest tunes of the year! We have some big relicks, big roots and big dancehall outta both Europe and Jamaica.

These things come together in music.” - Vaughn Benjamin, singer of the reggae band Midnite. I don’t sing a melody in front of everyone. If the riddim is militant and heavy, you have to fight this battle called life.

"Riddimguide" - The Essential Tool for Reggae Enthusiasts.

Mutiny Aboard the Slave Ships in the 18th century: Implications for the Transatlantic Slave Trade.

Steel Pulse – “Put Your Hoodies On ” (3rd Anniversary Edition) (Official HD Music Video 2015) March 3, 2015.

“Criminal” – Lutan Fyah & Turbulence (Official HD Music Video March 2015) March 6, 2015.

“Woman Yuh Strange” – Beres Hammond & Dennis Alcapone (360 Riddim / Heavy Beat Records March 2015) March 8, 2015.

“The Modern Greek Enlightenment and Revolution” – An original history research paper by rootsnwingz March 12, 2015.

Falling In & Outta Love: A lovers rock reggae selection by rootsnwingz March 13, 2015.

Capital Letters – “Wolverhampton” (Full Album HD Audio) March 26, 2015.

The Cluster Planet aka OmNebula Presents “The Forest Of Dub”, this Saturday, April 18th at 11:00pm – 7:00am IT The Place, Athens, Greece April 16, 2015.

rootsnwingz with Bluez on the melodica The Forest of Dub April 21, 2015.

Buju Banton – “Destiny” (rootsnwingz remix) May 22, 2015.

[c-40]

A-T-2 300 Disco Rap Pt.1

These are disco rap track where the raps are over a song that's already been a hit, a bit like how a riddim is used in Jamaican music

The Fearless Four - Rockin' It. We could call this the Man Machine Riddim! y'know because The Fearless Four are rapping over Man Machine by Kraftwerk. Sample technology was in it's infancy so this is a re-record like all other disco rap tracks, this also means the backing just isn't as crisp as the 1978 original and is full of disco flourishes you'd expect from funk musicians. The backing comes from Pumpkin & Friends, Pumpkin is Errol Bedward and friends are Dr Jeckyll & Mr Hyde and various members of The Disco Four. Their other 1982 single for Bobby Robinson's Enjoy Record was It's Magic which sees them rapping over a re-record of Cat Stevens' Was Dog A Doughnut from his 1977 album Izitso. Man Machine and Was Dog A Doughnut were two bboy records. Rockin' It itself has been sampled a lot, it's a hip hop classic from the disco rap era

Jimmy Spicer - The Bubble Bunch. Another hip hop classic, this one the follow up of Adventures Of Super Rhyme (Rap) from Jimmy Spicer (RIP) takes a section of Tom Browne's Thighs High (Grip Your Hips and Move.) It also uses a click track from the Casio VL-1 (like Michael Moorcock does on Time Centre A-T-2 198.) This one is also notable because it's mixed by Jellybean (who would cover Cat Stevens' Was Dog A Doughnut) and rap pioneer Kurtis Blow, and it's produced by pre Def Jam alleged sex predator Russel Simmons and former Kurtis Blow collaborator Larry Smith, Russel and Smith would go on to produce post-disco hip hop with Run DMC

Just Four - Jam To Remember. Shalamar's Night To Remember innit. Could you call this a posse cut? Lots of interesting personal on this record, first off Tricky Tee, he'll go on to work with Kurtis Mantronik but not to be mixed up with Mantronix's own Mc Tee, Kurtis Mantronik produces Tricky Tee's Thin Lizzy sampling solo single Johnny The Fox in 1985. Next up Wayne Brathwaite is one of the arrangers, Brathwaite is the bassist Mighty M Productions like to use (A-T-2 262) so we're talking Evelyn King and Kashif recordings. Then Jamaican's Glen Adams and Brad Osborne are writing, producing, and arranging. Glen Adams had been a key member of Lee Perry's band The Upsetters, as Glen Adams Affair he'd released the disco record Just A Groove for SAM Records in 1980. Brad Osborne moved to the Bronx in 1969 where he distributed Jamaican records and recorded visiting Jamaican musicians. These went out on his Brad and Clocktower labels. One of his early productions was of Glen Adams and a single called Tanya. In the early 80s he founded the hip hop imprint Grand Groove Records and the limited edition Dee Jay sub label

Just Four's Games Of Life is the first record to credit Marley Marl

Funky Four (sometimes Funky 4+1) - Do You Want to Rock (Before I Let Go.) This is over Maze's Before I Let Go. It goes off in a soul direction like what Sylvia Robinson was trying to do with label mates The Sequence around this time, the instrumental on the b side is essentially a modern soul track. It was produced by Sugar Hill owner, who I've just mentioned, Sylvia Robinson and in-house producer Clifton "Jiggs" Chase. Sugar Hill's band was Doug Wimbish bass, Skip McDonald guitar, and Keith LeBlanc drums. It's some silky smooth disco-rap

Brother D & The Collective Effort - How We Gonna Make The Black Nation Rise? Conscious rap originally released in 1980 as a b side, Island records pick it up and release it as an a side in the UK in 1982. Cheryl Lynn's To Be Real is the track they're rapping over, like many many others have. It was George Bernard Shaw famously described the mission of the Fabian Society to "Agitate, Educate, Organise" and that's the advise they are giving here... although as they're American it'll be Organize, right? I know this record from Coldcut's debut cut-up classic Say Kids

Dr Jeckyll & Mr Hyde - The Challenge (Instrumental)

So this is a bit of a secret weapon. The backing music is Nasty Girl by Prince's girl group Vanity 6, so on the b side there is essentially an extended instrumental of Nasty Girl. It's mixed and produced by Joe Tucci (Eric Matthew) of Gary's Gang et al. The a side is a cartoon boast record in reply to Vanity 6's Nasty Girl. Dr Jeckyll & Mr Hyde write for Captain Rock who was featured in the last post and probably had something to do with Rockin It above through their association with Pumpkin

[yugodtaguchi]

Greetings and love all my people This is the new schedule of my summer gigs. Big up to Dubbing you crew man like Tom Battery, Loic Deniro, Freedom Fighter Sound system crew man like Brother Hennry, Johannes, Richard, Team rub a dub berlin family man like Long fingah, Tonto addi, hotta henne, riddim bwoy, woman like julie oneness rep roots daughter sound system. Also, I'm so happy to announce having a band showcase with Subpressure bands and The magic touch band too!! I'm really looking forward to seeing new people and old friends around. Please check it out!! ☆ 02,03.07 / Berlin Dub Cafe / Grechan / berlin (DE) - lgs Dubbing You Crew ☆ 10.07 / The Magic Touch Band Concert / Sisyphos / Berlin (DE) - lgs Magic Touch Band ☆ 16,17.07 / Highenka festival / Pohořelice u Zlína / Pohořelice (CZ) - lgs Loic Deniro ☆ 22,23,24 / Dub Vibration festival 2022 / Eichberg-Trautenburg / Eichberg-Trautenburg (AT) - lgs Loic Deniro ☆ 28,29.07 / Reggae Jam Dub Camp / Bersenbrück / Bersenbrück (DE) - lgs Long Fingah, Hotta Henne ☆ 30.07 / Reggae In Wulf Festival / Augsburg / Augsburg (DE) - lgs Long Fingah, Sub Pressure Band ☆ 03.08 / Surf Station / Ummanz / Rügen (DE) - lgs Tonto Addi & Yugo Taguchi ☆ 04.08 / Klangpavillion / Sellin / Rügen (DE) - lgs Sub Pressure Band, Tonto Addi & Yugo Taguchi ☆ 05.08 / Hempress Sativa Live Show / Lido / Berlin (DE) - lgs Sub Pressure Band & Yugo Taguchi ☆ 06.08 / Buyreggae Grand Opening Party / Blessed Love Records / Berlin (DE) - lgs Blessed Love Records all-stars ☆ 07.08 / My Birthday Party / Secret / Berlin (DE) - lgs All My Family ☆ 12,13.08 / Oboa Festival / Oderbruch Open Air / Oderbruch (DE) - lgs Freedom Fighter Sound System ☆ 19.08 / Sister Nancy Live Show / Yaam / Berlin (DE) - lgs Team Rub A Dub Berlin ☆ 21.08 / Berlin Dub Cafe / Grechan / berlin (DE) - lgs Dubbing You Crew And more and more... crazy!! #yugotaguchi #yugot #yugodtaguchi #dubbingyou #grechan #subpressureband #themagictouchband #sisyphos #highenkafestival2022 #Dubvibrationfestival2022 #reggaejamdubcamp2022 #reggaein wulffestival2022 #surfstation #klangpavillion #hempresssativa #buyreggae #oboafestival2022 #sisternancy #summer2022 (at Club GRETCHEN) https://www.instagram.com/p/CfdyucKsTZo/?igshid=NGJjMDIxMWI=

[thesunlounge]

Reviews 339: Elo

Even though it was released by Helmi Levyt back in September 2019, I was only tipped to the rootsy reggae and sensual dub of Elo’s Uskallatko a few weeks ago and given that I’ve listened to the 10” practically nonstop since arrival, I feel compelled to write down some thoughts. Most of what I know about the band is gleaned from the liner notes, which reveal singer, songwriter, and Wurlitzer magician Mirkka Kivilehto as the source of Elo's words and music. As well, dub explorer Micho Dread (aka Studio Red) produced, recorded, and mixed the tracks while sourcing bass, guitar, keys, and percussion and vibing out in support are Helmi Levyt main man Arwi Lind on drums, Jori Hulkokonen on guitar, and Pekka Gröhn, who delivers a breathtaking Hammond organ performance. Together, these musicians, all of whom are longtime members of Finland's reggae scene, create a dreamy bed of dopamine dub beats, skanking bass sonics, solar keyboard accents, and staccato guitar scratches, with everything kissed by a light haze of echo. But the real stars of the show are the vocals from Wilja Rosenberg, Johanna Pitkänen (who performs and releases music as Yona), and Kivilehto herself…these powerful, graceful, and soulful serenades that melt the heart and subsume the spirit with layered harmonizations and evocative melodies awash in roots reggae spirituality and Finnish folk mystery. There’s also a more cosmically aligned dub included on the flip, which soaks everything in a haze of self-oscillating echonoise while reconfiguring the various elements according to some unknown headtrip logic. And best of all, this dub version closes with an immersive passage of acapella dream magic.

Elo - Uskallatko (Helmi Levyt, 2019) The main version of “Uskallatko” begins with high hat sizzles, tapped snares, and tom tom fills before we drop until an ultra-lush reggae slowgroove, wherein layered organs dance on sunbeams and Kivilehto’s Wurlitzer scratches out bluesy musings. The basslines skank together with the kick drum on a hearthrob dub pulse and Lind’s rimshots snap alongside snare cracks and tambourine sparkles, with everything kissed by a ghostly splash of verb. Guitars slide through catchy ocean motions before settling into palm-muted delay flashes and dubchord click riffs while overhead, a sensual singer unfurls melodies of lullaby beauty, with softly rolled tongues, wavering vibratos, and cooing breaths landing on the back of the neck. These lead vocals are haunted by backing singers, who occasionally soar together into cascades of ethereal majesty that carry the spirit into a pleading, almost desperate chorus, where angels of heaven weave together in a way recalling the interplay of Helena Espvall and Meg Baird in Espers as well as the work of Estela Magnone, Mariana Ingold, and Mayra Hugo in Travesía. Descending lyrical reveries move in round…the vibe mystical and witchy as soulful diva scats dart through the choral atmospheres…and in support, spaghetti western guitars slide towards a cinematic sunset while organs threaten to spill over into 60s psych soloing, though always remaining chilled and horizontal. Between the chorus and verse, we back down into dub jam instrumentalism, with everything pulsing and moving along with the subsonic riddims…drums breaking free from the glide to alight on slow motion fill adventures, solar organs and seascape guitar riffs refracting across the spectrum, and a stereo field overflowing with stoner sunshine warmth. And during one such bridge, we give over briefly to aquatic organ solo psychedelia, as Gröhn’s mysterious and subdued Hammond leads evoke smokey jazz nightclubs from mermaid civilizations.

“Uskallatko (DUB)” starts much in the same way, with hi-hats, snares, and tom fills, but this time, the hats wash out through infinite delay chains and the scatting organ panoramas drop sans drums, resulting in an introduction of ambient dub drifting. Then, we barrel down into a bass-generated pressure skank while drums smack and crack through cavernous echo chambers and guitars let loose palm-muted sketches that are stretched and transmuted into Rhythm & Sound-style drug-dub pulsations. The first time we sweep into the chorus, the delirious vocal harmonizations are reduced to their purest forest folk essence and galactic blasts of self-oscillating noise threaten to destroy everything while pushing the mind towards interstellar ecstasy…all as the drums disperse into ether. Guitars slide through silence and an electric piano solos gently while organs dominate the instrumental verses with chicken scratch leads and 60s psych whispers. During a second chorus, the drums stay with the groove, resulting in a psychoactive semblance of the original version’s pop-folk romantics, though again, everything sits beneath burning layers of oscillation. Later, a sort of mutant guitar solo slides into the stereo field to drop lackadaisical fractals, tropical chirps, and palm-muted bubble clouds while the organs mimic the refractions of starlight on an unsettled ocean surface. And at the end, as we soar upwards on vocal starbeams into a final chorus, almost everything washes away, with soft guitar and dubchord shadows eventually receding and leaving behind a truly transcendent passage of acapella mysticism, wherein the voices of Rosenberg, Pitkänen, and Kivilehto filter into an acid folk dreamscape as they carry the spirit through landscapes of heartbreak and sorrow.

(images from my personal copy)